Project A-ko is an indelible part of my anime fandom. As a young nerd in the 1990s eager for more information about this newfangled “Japanese animation,” I ran into it everywhere. The super strong A-ko, the technologically savvy B-ko, and the crybaby C-ko defined anime itself, and their antics were the stuff of legends. What fan didn’t recognize them?
But while I “knew” Project A-ko, I never actually watched it. Less a secret shame and more an ongoing omission, this representative gateway anime of those early days just never crossed my path–that is, until Otakon 2021.
A Brief History of Restoration
In 2019, Discotek Media announced that they were releasing a blu ray edition of Project A–ko, and what began as a state-of-the-art transfer from laser disc eventually gave way to the discovery of an original 35mm film master long thought most to the aether. Fast forward a couple years and a pandemic, and Discotek brought the first showing of the remastered Project A-ko to Otakon attendees. What better way to experience this missing piece of my history?
And so I sat in among a crowded audience, a near-even split of longtime Project A-ko fans and newcomers. Because of my exposure and cultural osmosis, I knew too much to pretend like I was viewing it in a vacuum or with a blank slate. I had read the fanfics, I had seen the websites on Anime Web Turnpike. Now, it was my time to bridge that gap between hearing everyone else’s opinions on Project A-ko and establishing my own.
Transfer students A-ko and C-ko are best of friends (or something more). Graviton High’s queen, B-ko, wants C-ko for herself, and she’ll do anything to tear the two friends apart. However, A-ko is superhumanly strong, and neither deception nor giant robots can stop her. Though not immediately obvious, the film was originally meant to be part of the Cream Lemon erotic OVA series before spinning off into its own thing.
The premise of Project A-ko is less a central driving narrative and more of an excuse. It’s a canvas upon which the creators display all manner of gorgeous and lovingly rendered animation ranging from slapstick to tense hand-to-hand combat to fanservice nudity to science fiction set pieces that could impress Moebius. In terms of technical and artistic perspectives, Project A-ko stands the test of time. In terms of artistic indulgence, it stands near the top.
I think how much you like Project A-ko truly boils down to how much you love animation for animation’s sake, how much the excitement and titillation of its myriad spectacles draws you in, and how much you can tolerate a paper-thin plot. I found myself somewhere in the middle, blown away by the sheer beauty of it all, but feeling the drag of nothing to truly anchor it, my attention started to drift halfway through. Yet, now knowing what Project A-ko is like now, it shines a whole new light on the fandom I remember from over 20 years ago.
Hindsight Is Hilarious
Project A-ko is comedy and satire, and I think that much is obvious if you’ve been exposed to plenty of anime. But while watching the interactions between the three core characters, I couldn’t help but recall the kinds of series-related discussions I would see as a young anime fan. Chief among them was the recurring hate lobbed at C-ko, with viewers frustrated that both the cute and feisty A-ko and the beautiful and elegant B-ko would devote so much attention to a loud, whiny, blond gremlin who seems like the worst kind of shoujo heroine. But in the wise words of McBain doing stand-up: that’s the joke.
C-ko is supposed to be obnoxiously innocent, from her shrill voice to her garbage-dump lunches she eagerly makes for A-ko. The way the haughty B-ko stares longingly at C-ko when the latter is at her loudest adds to the absurdity of their interactions. And unlike Mineta in My Hero Academia, who some fans find so annoying that the fanfiction site Archive of Our Own has a tag to indicate the removal of Mineta (and any traces of his history) from MHA, C-ko isn’t just some comedic side character. C-ko is essential to Project A-ko.
But I’m aware of the fact that Project A-ko hit the Western anime audience at a very particular time when there just wasn’t much anime available. Fans at the time took Project A-ko at face value, and it took the discourse around the movie in a certain direction that’s fascinating in hindsight. It’s possible I would have fallen into this trap myself—If I had watched Project A-ko back in the 1990s, I most definitely would not have understood that their class teacher is literally Creamy Mami, for example. In other words, “If a work of satire comes out in an environment where the target of satire does not exist, is it still satire?”
Generational Differences…in Spaaaace
In the anime Darling in the Franxx, the characters eventually take to space to fight a greater threat. I often welcome this familiar trope, having grown up on it as a matter of course, and the studio behind Franxx, Trigger, is often known for this particular kind of escalation. But to a number of viewers, this is the point at which the show jumps the shark. To them, the move to space battles makes little sense, and nothing about what came prior sets up this little twist. In contrast, I think Franxx is at its strongest after this point, and it’s because I’m of the A-ko generation without having previously seen A-ko.
That fandom generation gap is evident in the constant presence of that Star Wars–esque science fiction/space fantasy aesthetic in Project A-ko. Spaceships, aliens, and beam weapons are mixed into the setting and the narrative, and while technically there’s a twist, the plot revelation component is less important than the pretense it allows for more fantastic animation. And of course, there really isn’t any science fiction in the thematic or philosophical sense—it’s all about the explosions. “Why wouldn’t you have a space battle?” asks the 1980s/1990s anime fan, and Project A-ko is designed to be a collage of all the things that anime fans of the era adored.
A Worthwhile Experience
While I know all too well the period in Western anime fandom when Project A-ko was a definitive anime—from the obsession with chibis to the limited reference material that shaped the perception of anime in a certain direction—I also know that I can never truly return to that time. I can only look at Project A-ko from a point where it’s not the mind-blowing, life-altering experience that introduced me to all of the possibilities of animation. But that’s okay: Project A-ko still has a certain charm that’s hard to deny. The lack of inhibition it conveys and the loving care put into every second of it still stand the test of time, at least in terms of spectacle.
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